Review: Lifetime – Jersey’s Best Dancers

Lifetime - Jersey's Best Dancers

Once upon a time, somewhere in the swamps of Jersey, there existed a punk band that changed it all. I am speaking, of course, of Lifetime. Active first from 1990 to 1997, and then again beginning in 2005, Lifetime’s influence on what we call the “scene” today is impossible to understate. This album, as well as Hello Bastards, the one that preceded it, were influential to a variety of artists whose names you might recognize. Adam Lazzara of Taking Back Sunday has some of the band’s lyrics tattooed on his arm. Brand New lists Lifetime as “recommended listening” on their album Deja Entendu. The Gaslight Anthem references this album in their song “We Came to Dance.” Bands such as Rise Against, Silverstein and Fall Out Boy have recorded covers of their songs. The members of Thursday played some of their first shows with Lifetime, in Geoff Rickly’s basement. And then finally there is Saves the Day, whose debut album Can’t Slow Down comes as close as is humanly possible to imitating Lifetime’s sound without actual plagiarism. 

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Review: Millencolin – Pennybridge Pioneers

Millencolin - Pennybridge Pioneers

Sometimes I wish I were like you, so why won’t you let me show who I am?

Eight years has passed since Sweden’s punk rock golden boys Millencolin have released their iconic full-length Pennybridge Pioneers, and looking back, we can see there is a certain tinge of irony lurking within Nikola Sarcevic’s self-deprecating lyrics (like the excerpt above from “Stop to Think”) that intersperse cold hard truths with dry, quirky humor.

Hailing from the Swedish town of Örebro (which translates quite literally to “pennybridge” in English), Millencolin rose to fame in the early 90’s as part of the skate punk revolution, quickly being snatched up and signed by Epitaph Records. With a new millennium came a new horizon for the band that had gained a fair amount of popularity and praise in Europe and Australia but had yet to capitalize on the success labelmates Rancid, NOFX, and The Offspring had found in America. Epitaph head (and Bad Religion guitarist/co-songwriter) Brett Gurewitz took the band under his wing and produced Pennybridge Pioneers, their highest selling album to date, taking them from outside their comfort zone in the rolling hills of Sweden to record in the rolling hills of Hollywood.

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Review: Park – It Won’t Snow Where You’re Going

Park - It Won't Snow Where You're Going

When a band includes a disclaimer in their lyrics booklet explaining that musical themes of suicide should not be acted upon by the listener, they must really mean business. I hear the phrase “summer album” thrown around often in connection to upbeat and poppy albums. In contrast, Park’s It Won’t Snow Where You’re Going is the kind of album needed for warmth through the coldest of winters. Though there is little to nothing that can be described as cheerful in vocalist/guitarist Ladd Mitchell’s lyrics, there’s something encouraging in screaming ‘Let’s give up / Let’s give in’ during times of personal strife.

Though his lyrics are one of the main draws to Park, Mitchell’s vocals are nothing extraordinary. There’s something humbling about this, though. It makes him an everyman, someone whose troubles are easy to relate to. With that being said, at certain moments on the album his voice does shine brighter than usual. There’s an unmistakable build up on the track “Pomona for Empusa,” and for a few moments before the chorus Mitchell conveys his current frustration excellently with the single lyric, ‘Jesus Christ, what was I thinking?’ This short pause is made even better with limited accompaniment by guitarist Justin Valenti, who dwindles towards lower notes on the fretboard as a representation of Mitchell’s sinking state.

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Review: Days Away – L.S.D.E.P.

Days Away - L.S.D.E.P.

Days Away’s self-released disc the L.S.D.E.P. is an out of print rarity today, but collection fanatics need not worry – every track of the EP is recreated on the band’s debut album Mapping an Invisible World. Still, it’s nice to take a look back at the promise held by the best songs of the EP.

The soothing sounds of “Stay the Same” are a wonderful start to the L.S.D.E.P. Even with the instrumentation at its heaviest, Keith Goodwin (guitar/vocals) keeps a lazy pace with his placid singing. “Stay the Same” also introduces the band’s simplistic yet poignant approach to lyrics, a fitting compliment to Goodwin’s vocal style.

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Review: Name Taken – The Silent Game

Name Taken - The Silent Game

The welcome voice of bassist/singer Chad Atkinson singing a cappella at the introduction of “The Safety of Routine” gives The Silent Game an undeniably powerful start. Atkinson’s vocals are so confident and adult that it’s hard to believe that he, along with the other members of Name Taken (drummer Bret Meisenbach and guitarists Ryan Edwards and Blake Means), were mere teenagers when they created the EP.

This trend of youthful maturity continues with “For Sunday” in which Edwards and Means shine. Ignoring the uninspired power chord conventions of their scene they chase each other across their respective fretboards forming tightly woven patterns to set the dark mood of lyrics such as ‘And God why do I blame them? / I’m begging you to forgive me.’ During the breakdown the guitar duo alternate riffs from the left speaker to the right culminating with a frenzied message from Chad made all the more urgent by the fast paced rhythm courtesy of Meisenbach. If Chad’s striking vocals in “The Safety of Routine” are the initial draw, the instrumentation on “For Sunday” is what leaves the listener begging for more.

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